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Dragon Quest III: The Seeds of Salvation (edit)
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9月には、鳥山くんのほうからモンスターの絵がすべて出来上がってきたので、攻撃パターンのデータ作成。 さらにモンスターの分布等をきめ、現在にいたります。 | 9月には、鳥山くんのほうからモンスターの絵がすべて出来上がってきたので、攻撃パターンのデータ作成。 さらにモンスターの分布等をきめ、現在にいたります。 | ||
10月22日現在、 中村くんたちがプログラミン グしてきたシステムに、 こっちで作成してきたデータが入り、ゲームとしていちおう遊べるものが完成します。 そして最後の仕上げに向けて、スタッフ一同寝ない日が続いています。 | 10月22日現在、 中村くんたちがプログラミン グしてきたシステムに、 こっちで作成してきたデータが入り、ゲームとしていちおう遊べるものが完成します。 そして最後の仕上げに向けて、スタッフ一同寝ない日が続いています。 | ||
みなさん、もうちょっと待っていてください ねっ!!</ref>. | みなさん、もうちょっと待っていてください ねっ!!</ref>. In a 2025 interview with [https://en.wikipedia.org/wiki/Famitsu Famitsu magazine], Horii revealed that the twist of the game of taking place several centuries before ''Dragon Quest'' and ''Dragon Quest II'', depicting the origins of the legendary Erdrick, came about on a whim. Horii explained that he felt setting another sequel in the distant future wouldn't be interesting for players after it had already been done in ''Dragon Quest II'', and that this approach would be a fun surprise<ref>― ゲームはナンバリングを重ねて進化していったと思うのですが、物語の時系列がなぜ『DQIII』から『DQI』、『DQII』となったのか、その理由をあらためてお聞かせください。 | ||
堀井:『DQII」を作れるとなったとき、そのあいだに何百年かの時間が経っていることにしました。開発期間が短かったこともあり、そのほうが前作を活かせるので。そんな『DQII』も人気になったので、『DQIII』を作ろうと。でも、また何百年後の世界にするのは芸がないし、みんなをびっくりさせたいなと思って、過去の世界にすることを決めました。僕は人をびっくりさせるのが好きなので(笑)。最初からこの時系列にしようとは考えていませんでした。 週刊ファミ通 2025年11月13日号 No.1921</ref>. | |||
The game's overworld, kingdoms, villages, and dungeons were designed by Horii and his assistant [[Hiroshi Miyaoka]]. Due to the significant increase in the scope of the game compared to the predecessor, this process took more than two months to complete and the dungeons were given special consideration during this period with approximately 70% of the content within the first draft being changed. This emphasis on fine-tuning the labyrinths was a deliberate attempt to avoid the same balancing pitfalls of {{Dragon Quest II}} and provide a smoother difficulty curve. Implementing the {{NPC}}s and writing their dialogue took place in July, along with programming their movements for the time of day and during events. | The game's overworld, kingdoms, villages, and dungeons were designed by Horii and his assistant [[Hiroshi Miyaoka]]. Due to the significant increase in the scope of the game compared to the predecessor, this process took more than two months to complete and the dungeons were given special consideration during this period with approximately 70% of the content within the first draft being changed. This emphasis on fine-tuning the labyrinths was a deliberate attempt to avoid the same balancing pitfalls of {{Dragon Quest II}} and provide a smoother difficulty curve. Implementing the {{NPC}}s and writing their dialogue took place in July, along with programming their movements for the time of day and during events. | ||
What is likely the most infamous instance of the game's cut content was a scenario based on ''[[The Portopia Serial Murder Case]]'', where the {{Party 3}} would rest at a village's [[inn]] and hear someone rustling through the {{Hero 3}}'s belongings in the middle of the night. The next day the player would find that the [[ | What is likely the most infamous instance of the game's cut content was a scenario based on ''[[The Portopia Serial Murder Case]]'', where the {{Party 3}} would rest at a village's [[inn]] and hear someone rustling through the {{Hero 3}}'s belongings in the middle of the night. The next day the player would find that the [[ultimate key]] had been stolen and be unable to leave the village until it was recovered. The player would gather clues by speaking to the villagers in a manner similar to how Boss and Yasu conducted their investigation in ''Portopia'', but the strict memory limitations of the 2-megabit {{Famicom}} cartridge forced the event to be scrapped<ref>ファミ通, November 1989</ref> | ||
[[Kōichi Nakamura]] was concurrently programming the game's battle systems based on the outlines decided in January, and placed a focus on the artificial intelligence used by monsters in addition to general balancing. For example, some {{MFamilies}}s are aware of their {{MP}} pool and will not waste a turn trying to cast a spell they cannot afford, while the [[imp]]s are dumb and will try to cast powerful spells despite having no {{MP}} at all. Development shifted focus to battle balancing in September when [[Akira Toriyama]] completed the artwork for the {{MFamilies}}s, with the team deciding the attack patterns and habitats of the beasts now that their designs were finalized by a professional<ref>9月には、鳥山くんのほうからモンスターの絵がすべて出来上がってきたので、攻撃パターンのデータ作成。 さらにモンスターの分布等をきめ、現在にいたります。</ref>. | [[Kōichi Nakamura]] was concurrently programming the game's battle systems based on the outlines decided in January, and placed a focus on the artificial intelligence used by monsters in addition to general balancing. For example, some {{MFamilies}}s are aware of their {{MP}} pool and will not waste a turn trying to cast a spell they cannot afford, while the [[imp]]s are dumb and will try to cast powerful spells despite having no {{MP}} at all. Development shifted focus to battle balancing in September when [[Akira Toriyama]] completed the artwork for the {{MFamilies}}s, with the team deciding the attack patterns and habitats of the beasts now that their designs were finalized by a professional<ref>9月には、鳥山くんのほうからモンスターの絵がすべて出来上がってきたので、攻撃パターンのデータ作成。 さらにモンスターの分布等をきめ、現在にいたります。</ref>. | ||